Future Swiss art stars

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Anyone in Switzerland is probably familiar with the name Pippilotti Rist (60) – the exceptional artist of Buchs SG has long reached the Olympus of internationally acclaimed artists exhibiting worldwide from New York with his colorful and intimate video installations. From Tokyo to Sydney in the most prestigious museums. Perhaps something less well known is that Pipilotti Rist’s career also began in 1994 when she won the Manor Art Prize. The art award, which is given every two years by the big department store chain together with twelve art museums in twelve cantons, is one of the most important sponsors of Swiss young talents who have the potential to survive in international art in its 41st year. Sunday. It’s a good thing for artists. In addition to fame, the price – CHF 15,000 – is a welcome bonus. The only bitter drop for the audience: As individual cities are sometimes rented out in turn, there is no single big event where all the young talent can be seen together. But what’s new now: a list of museums where you can see the works of the 2023 award winners – there are seven this year. It’s time for a voyage of discovery.

What guides us? What moves us? And what internal and external forces hinder and disturb us? What are the social forces at the mercy of which we are unconsciously and consciously? These are questions that concern Linda Semadeni, among other things. The 38-year-old artist grew up in Ftan and Bern in the Engadin mountains and decided to study fine arts at the University of the Arts Zurich. Since then, she’s grappled with the above questions by digging deeper into movement and bodies. A sentence can sometimes, through repetition, turn into a huge abstract floor painting. Everything is art with its semadeni.

Linda Semadeni, Bündner Art Museum, Chur
18 February – 2 July 2023

He suggested Jan Vorisek (36) – who runs the Serpentine Gallery in London – none other than Swiss curator Hans-Ulrich Obrist (54), who enjoys almost legendary international status. Not for the Manor Art Prize Vorisek just won, but for the Swiss Prix Mobilière worth 30,000 francs, which he won this year as well. In Vorisek’s exhibitions, which include sound as well as installations, one does not feel safe at all: sometimes you walk through black latex walls that may have been erected by an extraterrestrial culture, sometimes you suddenly find yourself in a room with a surprisingly red light. Vorisek does what you want from art in various ways: It surprises. With performance tools, installations, but also with music – Vorisek is at home on the club stage. Or, to put it in Obrist’s words: “It is not uncommon for someone who is at home in the music and club scene to conquer a place in the art world as well.” And curator Dorothea Strauss speaks of “a very contemporary and almost magical artistic language.” And then double it: “Jan Vorisek is very talented.”

Jan Vorisek, Winterthur Art Museum,
16 September 2023 – 7 January 2024

A highly artificial, man-made, dead “landscape” – beige walls made of hard plastic, reminiscent of some kind of research institute or the interior of a spaceship – one looks through a kind of porthole, actually quite original. : Blue-green water taking organic forms carved an underground river into a rock. Here, too, human intervention is seen at second glance. And the question automatically arises: How do we deal with landscapes, why do we standardize them, what do they do to us, what value do they have for us? When we correct, exploit, exploit economically, is there any value left? These are the questions that concern Aurélie Strumans (40). The Belgian-Swiss artist was born in Sion, completed a bachelor’s degree in fine arts in Valais and then added a master’s degree in Zurich. He works in Valais and Zurich – and not only in his above work, which deals with these pressing problems of our time.

Aurélie Strumans, Valais Art Museum, Sion
6 May – 20 August 2023

Reto Müller (39) Born in Stein am Rhein, stone and Rhine or stone and water can also be used as umbrella terms to characterize his work: how water erodes and reshapes stone, or how lava first flows and then solidifies, how these processes of transformation take place and how it affects them, all this interests Müller in his artistic work. He directs his attention to both naturally occurring processes and human or artificial processes such as melting, casting or cutting. His works, made of materials such as tin, basalt, glass, lead, silver, gold or Appenzell granite, often evoke something almost incomprehensible between geological formations, local mythologies and our industrial history.

Reto Müller, Museum zu Allerheiligen, Schaffhausen
25 May – 15 October 2023

Lou Masduraud (33) from Geneva regularly drips, bubbles and releases vapors. The rocks develop distorted mouths that squirt fluids. Or the pipes are installed in such a way that they constantly shake things. His installations, mostly with a ceramic background, evoke a strange mixture in the viewer: one is often poetically influenced by the almost childlike visual language, amused but often a little disgusted – all at the same time. This mix also fascinates the art world. Masduraud, Lyon Biennale, Fondation Ricard, MAC de Lyon, Fondazione Sandretto Re Rebaudengo in Turin, Kunsthalle Basel, Moscow Biennale, Kunsthaus Hamburg in Pougues, Kunstmuseum Lucerne and Parc Saint Léger, among others -les-Eaux worked.

Lou Masduraud, Museum of Modern and Contemporary Art (MAMCO), Geneva, 6 July – 3 September 2023

st. Gallen’s Juliette Uzor (30) feels at home in the two art disciplines she intertwines in her work: she studied and completed dance and choreography in Lausanne and added her art education degree in Bern. Using bodies, space and rhythm, among other things, she analyzes “movements”, both personal and social. He has already exhibited and exhibited his work in a wide variety of places: Kunsthalle Zürich, Kunsthalle St. Gallen, Tanzhaus Zürich as well as the Performance Festival in Freetown (Sierra Leone).

Juliette Uzor, St. Gallen Art Museum
25 November 2023 – 11 February 2024

In fact, Gina Folly (40) would predominantly be a photographer. Actually. Because he expands this medium to new formats, he chooses extraordinary materials and forms for his presentations. How and why something is needed and what this use does to objects, how this use conveys culture and how it changes us, are the themes that you have addressed in your two new series of works for the “Autofocus” exhibition. In doing so, Folly examines what the conditions and hierarchies of our human existence are and how they can be disrupted or altered.

Gina Folly, Kunstmuseum Basel | To present
6 May – 1 October 2023

Source : Blick